Fear has no more place in horror films. It has died, much like the sad sorry characters created to die, and die degraded, abused, and defiled within the genre they were wrought. Instead of the prickling needlepoint of creeping terror, modern horror movies relate to the worst, most vile aspects in Homo sapiens by using gore and death during coitus, among other slimy tricks to garner attention. A violent species, homo Sapiens have a penchant for violence like a sommelier for wine.

Snuff films. The ultimate horror movie, right? A real person mutliated, splayed, and displayed for the entertainment outlets reserved for those who deserve a worse fate than what they endorse. Everyone wants to see a snuff film. Immunity from this desire is not a question.

But most are too afraid to seek them, let alone view them. It is a reminder that horror is real, and that they too can be butchered and placed on gallery for the world to see. Homo sapiens strive to destroy what they fear. When they cannot destroy that fear, they sexualize it to remove the aspects of fear. Look how closely copulation and decapitation go hand in hand when watching a horror movie.

Gratuitous, sure. But that isn’t why it was placed there.

When Homo sapiens mate, and then are murdered in horror movies, it is placed there to for what some could consider as…a way to make a poor, pathetic story interesting. This could be true. More likely is these people are murdered out of jealousy. Jealousy and culture.

Men are taught to hate. From a child. Think it not true? Look a rabid football fan and his rabid little football fan boy. He is taught to hate a team that he has no connection to, physical, mental, or otherwise. They impose challenges to his father, and to himself by proxy. The spark of hatred is born.

When female Homo sapiens don’t want to mate with males, male response is conditioned to take her, or whomever his sexual target is. When a girl and her boyfriend (often blonde, beautiful, and with a fragile name like Jules, or Amy) are copulating in a horror movie, the woman’s death is guaranteed, typically while topless, naked, or worse. If a non-white, non-male character even EXISITS in a horror movie, all too often they’ll be dead before the first freak pops a boner in the movie theater. There are exceptions. But they barely exist, and are rarely looked upon fondly in modern society. Especially by whites, which is altogether another vile, hideous story on its own.

Many horror films delve deeper into the pain and madness of male sexuality and depict scenes of profound violence mixed with rape, misogyny, and torture. The audience wants to see her die because they already hate her for having sex. This mirrors modern society so perfectly…it would be satire if not fact.

Many would argue that these movies are harmless. Just harmless gory fun that can’t hurt anyone. Surely. Incorrect. Homo sapiens derive their sexual desires from their fears. It is why many of our modern sexual practices involve fantasies of rape, suffocation, torture, mutilation, and even death, extending into necrophilia. I know this because I have met people that masturbate to gory horror films and actual snuff, like executions and animal torture/murder. These are not harmless fantasies. And these people are a disease.

Modern horror films are made by those who need to delve into murder. They are either too scared to kill, or they are afraid to accept their nature. Horror films, and their creators and die hard fans, merely are popular because they give Homo sapiens the two things it desires most. Violence, and rape.

In horror movies, if one does not want to rape, one will want to see rape. If one does not want to kill, one will want to see killing. These are the only two values modern society deem any worth in at all. And entertainment reflects it- Homo sapiens hate to love seeing the innocent destroyed for fun. Seeing evil win because that’s what makes a horror movie good, the realism? The realism at the end, because the good guy doesn’t always win.

The good guy doesn’t always win in real life. More often than not, they are placed on top of the corpses of others who tried to good. A horror movie exploits that, using the inate fear of evil to try and improve its own story. It doesn’t work. Reality is worse. People can’t be reminded of that because they never forget.

Modern horror exploits what Homo sapiens fear and hate while the same time endorsing the whole Freudian package. Look into yourself. Your sexual fantasies. Where do they come from? Do you want to be choked? Do you like to do the choking? Do you like to look at sexualized cartoons? Does rape, or being raped turn you on? Why?

Like this:

Emotions leave powerful imprints on reality as the bodies they were wrenched from degrade into a stain; sometimes the emotions are so strong that they are able to bind a soul to a place, person, or object. Ancient places are often collectors of such phenomenon whether in fiction or non, steeped in the sorrow and joy of countless life forms across countless eons. There are locations in Melias that mirror our own in this manner and why wouldn’t they? Would not a home be haunted by a lonely widower? Or a grieving child visited by his late mother’s spirit? Going further, could not portals to other planes be opened?

Poezslav Manor is one such a place, a place buried in history. Genesis, a Cleric and Hero of Melias, is hired by the owner of the manor to investigate some strange occurrences within the estate before a large Gala- the first of the season. The fun of Manor Poezslav is that it is known in elite, wealthy circles for being haunted. In fact, that’s what makes the price so right for the owner. But as of late, the occurrences in the manor went from cheeky to downright horrifying.

Genesis investigates the Manor and the surrounding grounds, finding clues to Manor Poezslav’s bizarre past, discovering ghastly clues along with artifacts and knowledge utterly sibylline in nature. As her investigation wears on, Genesis delves deep into the bowels of Poezslav, deeper than any of its owners have ever dared; determined to unravel all of its covetous secrets.

As a rule, I hate the pure horror genre. I used to be an avid fan when I was a child (that tells you a lot, don’t it), but as I grew older, I realized that was the problem. I was a child. Horror never satisfied me. All I saw was just victims getting splattered, and then an unsatisfying ending typically implying another film, or one that illustrates the monster/antagonist getting away to commit more murders. At other times, the “point” of the horror movie, or story was to simply kill all the protagonists. Lazy. Uninspired. Boring. Enraging. So instead…

Elemental horror places Genesis into Manor Poezlav, a hostile paranormal environment, and she will be able respond whenever there is danger, not possible in most versions of classic, pure-genre horror. In addition to her incredible prowess as a warrior, both in technique and physicality, Genesis, like all Clerics in Melias, channel powerful spells called hymns- songs derived from places of raw willpower and faith that manipulate the ether to a desired end. Most of the time, Clerics act as exorcists, banishing malicious spirits from the physical plane, or smashing the undead. The hymns aid to that end, either strengthening the Cleric, or weakening their foes.

Is she invulnerable? Will she be in danger? Will she be challenged? Absolutely. Genesis is human. She bleeds, needs to eat, drink, and sleep, and can die like you or me. Poezslav, and all of its horrors, will test her mind and body to their very limits and then some. But is this just some dumbass horror story with a hair-in-the-face ghoul haunting an antique mirror?